Victor Herbert: A Theatrical Life

Chapter 9. Act One

CHAPTER 9 act one (1894–1900) It is symbolic that the discussion of Victor Herbert’s work in the theater should begin roughly halfway through his biography, for although his popular image rests on the contributions he made to the musical theater, he did not begin that work until the second half of his life. The popular image of Herbert’s operettas, like all cultural clichés, is comfortable but, on examination, faulty. What is that image? Simply, that all of the Herbert librettos are impossibly poor; that it is Herbert’s musical contribution that made for such success as he enjoyed in the theater; and finally, that the subject matter of these plays is largely the gossamer world of romance, of fey royals waltzing gracefully through labyrinths of mistaken identity, a custom and device so devoid of attraction for our postmodern sensibilities that they are properly relegated to the dusty shelves of music libraries, a passing footnote to the history of operetta, and nothing more. This image is as pervasive as it is false. But it is so well established in the popular mind, and in the canon of professional musical literature, that it has led to the cheapening and commercial exploitation of music of sensitivity and beauty: e.g., Mel Brooks in Young Frankenstein, chose ‘‘Ah, Sweet Mystery of Life’’ as the birdsong warbled by Madelyn Kahn after her night of ecstasy in the arms of the monster; the same selection was recently chosen as the background music for a supermarket commercial featuring a video scan of shining fresh fruits and vegetables. The 1940s gave us the promotion of a hair treatment to the tune of ‘‘Toyland’’: Dream girl, dream girl, Beautiful Luster-creme girl You owe your crowning glory to . . . A Luster-creme Shampoo. Herbert’s keen sense of humor might have relished such things—so long as the royalties were paid. What he most definitely would not have countenanced is this: the latest edition of Die Musik in Geschichte und 247 Gegenwart (Music, Historical and Contemporary) with the New Grove’s Dictionary of Music and Musicians, the most authoritative and complete encyclopedia of music, in its article on operetta, does not even mention Victor Herbert. Even given the editorial bias toward the Germanic in subject areas that Teutons deem their own turf, such an omission is inexcusable, especially in the light of other composers included in the entry. What is wrong, then, with the image of Herbert’s works? There are three myths that need to be exploded. The first is that all of his works are so old-fashioned and burdened with such poor books that they are virtually unproducible. Among the forty-two (!) works Herbert created for the stage, not counting editions of the Ziegfeld Follies and the grand operas, there are fifteen with workable original librettos and effective scores that can hold their own with such other light opera works produced today. The second is the idea that Herbert was unconcerned with the quality of the librettos he set; that he had such musical facility that he could have set the telephone directory if he had been so inclined. Facile he was; unconcerned and uninvolved he was not. We have ample evidence that Herbert was vitally concerned and intimately involved with every facet of the creative process. He constantly badgered his librettists to get on with the work, making specific suggestions for improvements, urging his collaborators to do their best. This is a pattern that persists from the earliest days of his theatrical work to the end of his career. To get a bit ahead of the story, here is Herbert in 1921, writing to his longtime collaborator, Harry B. Smith: Camp Joyland Lake Placid Sept. 9, 1921 Dear Harry I am glad you have decided to ‘‘stay right on the job’’—as you say—until the piece is right. Both Nicolai and Dreyfus have been served so badly by their former partner that they really deserve an extra effort on the part of the authors. If only I had a suitable lyric I would gladly write a new song for the 2nd Act. ‘‘Badinage’’ is too well known, I think, to allow of an imitation by myself, although it has often been imitated by others. 248 a c t o n e I agree with you that two waltzes shouldn’t be so close together. We must find...